21 Replies to “Super 16mm Masterclass :: Arri SR Camera Overview – Indie Film Hustle”

  1. Thanks for making this video! I've never worked with film cameras but would always drool over them in American Cinematographer.

  2. mono your mix and/or flip phase on channel two. the two (or more it sounds like) microphones are out of phase when they get that close and it sounds terrible on headphones, like you're panning a two person dialog to the rear speakers in a surround setup. It almost sounds like you're using a stereo mic in addition to lavaliers. If so, mono mix, flip phase on lavalier 1 and camera mic, or alternatively a phase flip on lavalier 1 and a gain reduction on the camera mic of 10 dB should do it. Should take care of the washy sound you get (from phase interference) when using multiple mics in a live environment panned mono, but doesn't sound like two people talking to different sides of my head. 🙂

  3. I miss these cameras. Used to work with them extensively up to the mid 2000s. Whole kit would fit on a Rubbermaid cart. Lots of TV series and MOWs. And 1000s of mile of film loaded.

  4. Thank You Alex and Egon! 16mm is great for miniature effects photography. Hey, could you two go over the ARRI Arriflex 435 Xtreme? Love that camera. I was even thinking of buying one and having the DP shoot with that for my film in preproduction now.

  5. Gotta keep film, celluloid, 35mm alive. It's all about preference. Now, I'm not being Luddite when I say this, but I love it when the camera crews with the equipment from the old New Hollywood Era is used and all really great people from special effects departments are onboard and all really great people from art department & set construction departments are onboard and so on and it just seems like MAGIC, MOVIE MAGIC

  6. i want to buy one cam for short film ……. if you have emi suitation plz contact me on . AKKI LINK on face book page . plz
    REPLY

  7. I remember the days of shooting on a Mexican Panaflex, the CP 16R hard-cabled to a Nagra in college. I loved the Cinema Products' GSMO too. Mighty small with the short Angenieux zoom. Used to shoot the Drag Races at Lions and at Pamona. I grew up with a dude who worked at the NBC affiliate in town. They always had twice as many camera kits as cameramen (no women then) and I always had free access to that gear, always. I subbed in the darkroom there. Processed my film there too. I bought my own film too. His family owned the station. I bought my own used Angenieux orientable viewfinder for the CP and a twin-reeled, hand-cranked Moviola for editing . I used their sound head. Sandburg's Lincoln was filmed with a CP 16. California Institute of the Arts had the French Eclair NPR and ACL cameras. We called them Irish Panaflexes. USC and UCLA had Arri 16 S and BL cameras. Got to go to AFI. They had EVERYTHING! I remember when Panaflex first came out with their 16mm 'Baby' Panaflex. Beautiful. Garret Brown rigged a Panaflex 35 to one of his very first production Steady-Cam systems. Gordon Willis' eyes almost popped out! That guy could dance ballet with that rig!! Go Garret, go! The good old days.

  8. Nice video! So I assume, all these Arri SR cameras shoot Super 16mm, they are not like others who need to be converted for that, right?

  9. so kubrick had to videotape the shining with an eye mount ? i think he shot with extra beta..? ör Vh$ ^ ^
    2:40 örrlie gaymähR$ ^ ^

  10. Sorry to be a pain but there were a few inaccuracies here:
    The Arriflex SR shot from 1fps to 75fps not 1fps to 60fps.
    The Aaton A-Minima uses A Wind film not B.
    And last, when unloading an SR magazine with a collapsible core, you disengage the core with the exposed film from the magazine, release the catch on the core and return the core to the magazine. The method described in the video will cause either dishing of the film or synch marks on the image. On the Arriflex 35 BL series / Arri 2C / Arri III the collapsible core is permanently attached to the magazine.

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